Ghost in the Closet 

In Jeymes Samuel's history-infused, neo-spaghetti western, Black women are center stage with a fresh hip hop mixtape keeping rhythm in the backdrop.

The sequel to the 2021 remake of the same name continues from where we last left off in this spooky adventure.

In Paul Feig’s newest comedy, Last Christmas, Katarina (Emilia Clarke) didn’t give a heart, she got a heart, you see.

A young girl named Hailey Mays sings a country song that is named after the film's title.

Him is visually stunning—all concrete cathedrals and bone-rattling impact shots that look like a nightmare highlight reel. Marlon Wayans is magnetic as this legendary quarterback who's basically selling salvation with a smile that never quite reaches his eyes. But the story keeps running in circles: more tests, more cryptic pep talks, more ritualistic drills. The sports-as-religion metaphor beats you over the head when subtlety would've been more effective. The middle drags, and that finale chooses spectacle over substance. It's undeniably stylish, but left me cold. Also worth noting: despite the Monkeypaw connection, this isn't actually a Jordan Peele film—he didn't write or direct.

Overall, Lee Cronin’s The Mummy is plagued by numerous flaws, both from a quality and from a diversity standpoint.  The film relies on gore and loud sounds to drown out its flat script, flatter dialogue, and one-dimensional characters.